|Gli strumenti musicali del Rinascimento
|Questa è la ristampa in facsimile – fatte salve alcune correzioni – della prima e unica edizione del mio libro sugli strumenti musicali del Rinascimento, pubblicato a Padova nel gennaio del 1987. Da anni i diritti dell’editore erano scaduti e mi ero ripromesso di ripubblicare questa mia prima ricerca a mie spese. Ora con Amazon ho potuto trovare la giusta combinazione tra prezzo e qualità. Sicuramente in alcune sue parti il libro è desueto, ma credo valga ancora la pena di averlo.
|Duets for treble recorders arranged from well-known early tunes
|These duets for treble recorder are my free arrangements of well-known pieces of early music, folk tunes and melodies, some taken from the collection for soprano recorder solo by Jacob van Eyck, Der Fluyten Lust-hof (Amsterdam 1646-54); others are excerpts from famous recorder sonatas of the 18th century.
|Georg Philipp Telemann
|Six canonic sonatas for two treble recorders
|The Six Sonates en Duo were first published in Paris in 1738. Telemann lists the flute as the principal instrument, followed by the violin; however, we know that all these compositions for flutes can be transposed a third or a fourth higher for treble recorders: this was a very common practice in the first half of the 18th century, both in France and in Germany.
|Jean Baptiste Loeillet de Gant
|Six sonatas of two parts edited for two treble recorders
The Flemish composer Jean Baptiste Loeillet de Gant (1688 - c. 1720) worked mainly in France. The English publisher John Walsh published this collection of duets for two transverse flutes – which he called “German flutes” – in an unspecified year early in the 18th century.
These sonatas can easily be adapted for two treble recorders by transposing them a third higher. The music is in the Italian style and swings between sonata and dance suite in an uncertain style typical of the early years of the 18th century.
|Georg Philipp Telemann
|12 fantasias for flute or recorder
Georg Philipp Telemann published his collection Fantasie per Violino senza Basso around 1733. This work is peculiar in several ways: firstly, the title does not correspond to the content, as the twelve pieces were clearly written for a transverse flute; secondly, the print is rather confusing and too narrow, perhaps because the composer wanted each fantasia to fit on just one page. It should be noted that this, like most of Telemann’s prints, was personally engraved by the composer and published at his own expense. Nevertheless, the appearance of the print is below Telemann’s standard.
As is usual with this type of music for the flute, the pieces can be transposed a third or a fourth higher to suit a treble recorder. In two cases I suggest both transpositions. However, some of the fantasias are quite difficult for the recorder, both because of the high notes they reach and because some passages contain the high F sharp, a note that is almost impossible to play on a treble recorder.